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"Theory of Type Design by internationally renowned type designer Gerard Unger is the first comprehensive theory of typeface design. This volume consists of 24 concise chapters, each clearly describing a different aspect of type design, from the influence of language to today’s digital developments, from how our eyes and brain process letterforms to their power of expression. This splendid book includes more than 200 illustrations and practical examples that illuminate the theoretical material. The terminology is succinctly explained in the volume’s extensive glossary. The theory is internationally orientated and relevant for typography courses, professionals and those with a general interest in text and reading all over the world." --Publisher description.
Dedicated to graphic designer Gerard Unger (1942-2018), this book presents a case study in the development of modern type design as it unfolds along with the rapid technological shifts that transformed typesetting and publishing over the past 50 years. While most of Unger's types are variations on the economical Dutch tradition, they are also permeated by his distinctive style, marked by tensive curves and dynamic rhythm. He drew inspiration from abstract art and delighted in the interplay of form and space in letterforms. The book includes a reproduction and translation of Unger's 1977 exhibition at the Stedelijk Museum, where he began to develop a theory of type design.
English translation of this contemporary classic: accessible, informative and invaluable.
Overzicht van vooral de 20e-eeuwse Nederlandse typografie.
This book addresses the paucity of published research specifically dealing with knowledge of text typeface design processes. Dr Michael Harkins uses a Grounded Theory Methodology to render a tripartite theory resulting in explanation and description of the processes of text typeface design based upon the evidence of subject specific expert knowledge from world-leading practitioners, including Matthew Carter, Robin Nicholas, Erik Spiekermann, and Gerard Unger. The book will be of interest to scholars working in design research, design epistemology, design process, typography, type design, information design and graphic design.
Facilitation skills are the foundation of every successful design practice, yet training on this core competency has been largely unavailable—until now. Designing the Conversation: Techniques for Successful Facilitation is a complete guide to developing the facilitation skills you need to communicate effectively and design fully engaging experiences. Learn to take control as Russ Unger, Brad Nunnally, and Dan Willis show you how to use your skills as a facilitator to deftly extract information from different types of people in various scenarios and address any problems and needs that arise along the way. With this book, you will learn how to: Bring together different cross-functional project teams, stakeholders, and clients while balancing their needs, goals, and requirements with those of users Prepare for activities through agenda setting, planning for different types of personalities, and identifying the method of practicing that works best for you Perform group facilitation in workshops, brainstorming sessions, and focus groups Manage individual facilitation activities through interviews, usability testing, sales calls, and mentoring Conduct one-to-many facilitation activities such as presentations, virtual seminars, and lectures Understand how to manage Q & A from audiences of all sizes
In this richly illustrated book, art historian and design expert Marjan Unger tells the story of jewellery. She places jewels in the context of the people who wore them, their culture and their time, and interlaces surprising perspectives from art history, fashion theory and anthropology with the cultural, historical and social values and material characteristics of the jewellery. Unger advocates a universal approach to this cultural heritage that is being produced and worn all over the world. She uses the rich collection of the Rijksmuseum Amsterdam to guide and illustrate her comprehensive and gripping tale. Every piece of jewellery shines in its own way! Hence, every jewel is portrayed at its true size (sometimes with enlarged details) to show the intimacy of the jewel and its proportion to the human body. With this book, designer Irma Boom has set an iconic standard for jewellery publications. The book is a feast for the eye and an important reference work for anyone interested in jewellery, fashion and design.
The first major monograph on the legendary American typographer and graphic designer Herb Lubalin.
An innovative examination of typography as a medium of communication rather than part of print or digital media. Typography is everywhere and yet widely unnoticed. When we read type, we fail to see type. In this book, Kate Brideau considers typography not as part of "print media" or "digital media" but as a medium of communication itself, able to transcend the life and death of particular technologies. Examining the contradiction between typographic form (often overlooked) and function (often overpowering), Brideau argues that typography is made up not of letters but of shapes, and that shape is existentially and technologically central to the typographic medium. After considering what constitutes typographic form, Brideau turns to typographic function and how it relates to form. Examining typography's role in both the neurological and psychological aspects of reading, she argues that typography's functions exceed reading; typographic forms communicate, but that communication is not limited to the content they carry. To understand to what extent the design and operations of the typographic medium affect the way we perceive information, Brideau warns, we must understand the medium's own operational logic, embodied in the full diversity of typographic forms. Brideau discusses a range of topics--from intellectual property protection for typefaces to Renaissance and Enlightenment ideal letterforms--and draws on a wide variety of theoretical work, including phenomenological ideas about comprehension, German media archaeology, and the media and communication theories of Vilém Flusser and others. Hand-drawn illustrations of typographic forms accompany the text.
For almost twenty years, and over sixty issues, Emigre has been a sourcebook of ideas, fonts, images, work, products, and even music for an entire generation of designers. Now, Emigre has transitioned into a new format, a return-to-roots series of "pocketbooks, " focusing on critical writing about the state of graphic design. Anyone interested in contemporary design will want to put a copy of Emigre in their pocket.